Chuck Stewart’s photography provided by Fireball Entertainment Group, courtesy of Chuck Stewart Photographs of John Coltrane, Archives Center, National Museum of American History, Smithsonian Institution
Notes on the songs from our 20th Southern Music Issue Sampler featuring North Carolina.
The profiles, eulogies, and essays herein boast of remarkable achievements of North Carolina’s musicians across eras and genres: from unassailable legends (High Point’s John Coltrane, Tryon’s Nina Simone, Chapel Hill’s James Taylor) to contemporary masters (Snow Hill’s Rapsody, Jacksonville’s Ryan Adams, Raleigh’s 9th Wonder) to the seen-afresh (Dunn’s Link Wray, Kannapolis’s George Clinton, Winston-Salem’s dB’s, Charlotte’s Jodeci)—and, of course, the often-overlooked and in-between (Winston-Salem’s Wesley Johnson, Morganton’s Etta Baker, Chapel Hill’s Liquid Pleasure, Kinston’s Nathaniel Jones, Black Mountain’s period of hosting John Cage).
“I didn’t do any research,” Luther Dickinson said with a grin as he opened the door to his room at the Washington Square Park Hotel. Dickinson was in New York for a show that evening at Rockwood Music Hall, and he had agreed to talk with me about a question I’d become obsessed with: Did blues slide guitar evolve from the Hawaiian steel guitar or from the African instrument usually claimed as its ancestor?